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Everything posted by Robert Houllahan
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16mm film scanning - latest tech? information?
Robert Houllahan replied to Stephen Perera's topic in Film Stocks & Processing
Until they put a better sensor into the thing it really does not matter, any little secret is overrun by the FPN and sub rez. -
16mm film scanning - latest tech? information?
Robert Houllahan replied to Stephen Perera's topic in Film Stocks & Processing
If BMD put a better sensor into the Cintel then it would be different but they have stuck with their old old URSA sensor that has allot of FPN and makes sub rez scans. -
16mm film scanning - latest tech? information?
Robert Houllahan replied to Stephen Perera's topic in Film Stocks & Processing
People who buy these will use confirmation bias to sell themselves on their purchase and into thinking it is a better scan than it is, already people sell 16mm scans as "2K" from this and it scans the full width of 16mm at about 2K but not the picture area, Also you have to run the film through twice to do "HDR" it is not a 2-flash scanner nor does it have GPU-Machine vision Perf Stabilization. I suppose it is ok for 35mm or for TikTok and Instagram vids but not for real work. Effective Resolutions 3840 x 2880 - Super 35 3390 x 2465 - Standard 35 3390 x 2865 - Anamorphic 35 1903 x 1143 - Super 16 1581 x 1154 - Standard 16 892 x 638 - Super 8 752 x 567 - Standard 8 -
Digital Film Out to B&W Negative On 16mm
Robert Houllahan replied to Scott Pickering's topic in Film Stocks & Processing
HI The only really mass produced film recorders using lasers are the Arrilaser 1 and 2 machines, they only record to 35mm film. I built a 16mm recorder 8-9 yrs ago and we are on the 5th generation of the recorder now. We went from using a CT Scan medical imaging LCD to a very new Micro OLED for the recorder recently. It uses a pin registered Mitchell 16mm camera and software which records DPX frames to 16mm one pin reg frame at a time with an intermittent movement and image control of the micro OLED. I have not made this machine Super 16mm it is a Standard 16mm gate and recording. We can record to just about any 16mm stock with a calibration, our usual stocks are 50D 250D 500t and 7222 -
16mm bolex scratches /or scan problems?
Robert Houllahan replied to Matteo BONADDIO's topic in Cinematographers
Vertical scratches are usually something in the camera gate or loop path. Processing scratches usually move left-right and can be a piece of debris trapped in a squeegee for example. If this was scanned on a Spirit or Scannity there may be a chance that there is some dirt in the aperture slit on the scanner. -
16mm film scanning - latest tech? information?
Robert Houllahan replied to Stephen Perera's topic in Film Stocks & Processing
It is a great machine and any Scan Station with a newer Sony sensor and 2-flash will make pretty consistent scans it has largely become the "New Spirit" with everyone having one making a certain high level of quality scans into more or less a commodity. Scan Station still uses an off the shelf Sony color sensor camera and CFA scanners have allot of color channel cross talk which has to be dealt with in math / color matrix etc under the hood and they have separation issues especially in very dense negatives. The Sony Pregius IMX342 does have FPN if you look close enough and the 2-flash primarily gets rid of the noise in certain aspects like very dense negative. The Arriscan Director and other scanners which are RGB and don't have the color filter array and debayer issues and make allot more accurate color through the density range. -
16mm film scanning - latest tech? information?
Robert Houllahan replied to Stephen Perera's topic in Film Stocks & Processing
The Spirit is mostly used for archives or smaller shops keeping them running now it is old. The Scannity is a top performer for new film as is the Arriscan and Arriscan XT and LaserGraphics Director, all true RGB scanners. The Cintel scanner is a noisy piece of junk that scans 16mm ant sub HD rez and that is pretty useless for anything but 35mm and not the best for that. Most labs have replaced the Spirit with LaserGraphics Scan Station scanners which offer excellent and fast scans. There are the Xena FilmFabriek and Kinetta scanners which offer different ranges of quality speed and cost. Most modern scanners have benefited from new sensors and fast GPUs allowing for much lower cost and much faster scan speeds. The best scanners still do true RGB scans and to do that fast requires more complex systems like line scan (Scannity) or will be slower like the Arriscan XT but you get true 16bit and better color fidelity than a scanner with a color sensor. -
With a 6x can minimum order. 7203 50D is also an option to use as an IN as Dirk said. I have someone right now who wants to try a Ultra 16mm 100D Ektachrome to 35mm optical blowup which I am working on getting our Producer's Service optical printer ACME shuttle U-16mm modded for.
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- ektachrome
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16mm fullcoat magnetic stock?
Robert Houllahan replied to David Bendiksen's topic in Film Stocks & Processing
Kodak still had 16mm mag in the catalog as of a few years ago, no longer there. I might have some at the lab I will look tomorrow. -
Transferring vintage Kodacolor lenticular film
Robert Houllahan replied to Todd Ruel's topic in Post Production
Steve said there are some faint images it is not prepped and scanned yet. I think this was a roll of new very old stock that someone got and decided to give it a go at shooting it. Will probably put it on the Scan Station on Monday. -
Transferring vintage Kodacolor lenticular film
Robert Houllahan replied to Todd Ruel's topic in Post Production
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ECN-1 processing with VISION3 stocks
Robert Houllahan replied to Owen A. Davies's topic in Film Stocks & Processing
You could try it in a Lomo tank but as Tyler said the ECN-1 Developer Part A and B are totally different as was the Bleach and Fix I believe. I can ask Bob Hum who worked at Cinelab and was running film in the early 1970's he would know more specifics but I think Kodak ECN-1 was being phased out by about 1970-71 with the transition to ECN2 happening fully by the mid 1970's The Kodak ECN-2 formulas are readily available and it is a CD-3 based developer you can search the reddit r/darkroom forums for people mixing from powder. I am not sure where to find the ECN-1 formulas they do not seem to be out online anywhere. ECN-1 was lower temp because the emulsion was less stable at higher temps and those stocks would turn back to jello at the 106F temp ECN-2 runs thus ECN-1 having more than twice the development time. -
Looks like un-slit standard 8mm with half the needed perforations. how the hells? Maybe: On the LaserGraphics scanners I would try to load the advanced settings on the 16mm gate and then select ultra Standard 8mm setting. Then you could try an over-scan with the stabilization turned off. This might get you close to individual frames per frame scanned one side then go back and scan the other side?
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B&W film stocks age very well I used some Plus-X 16mm negative which expired in 1965 on a music video for a friend's band in 2020 and it looked great, I rated it at 12iso and I think it was 40iso on the can. I would say that in general Plus-X reversal will look lower grain and nicer as Reversal if it is machine processed in a lab like ours. For a X-Process you would want to shoot a wedge sensi and process it to the gamma and density you want, there can be allot of variables in the look of the stock based on the way it is developed as a negative i.e. time and temp and how dense you want to make it.
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Transferring vintage Kodacolor lenticular film
Robert Houllahan replied to Todd Ruel's topic in Post Production
The 2-flash is useful for allot of things and mostly gets sensor noise down and more detail in dense film so a reasonable cost for that feature and LaserGraphics has a staff of engineers and support people to feed. Tommy at Colorlab has a background in software and Colorlab probably sees more of that Kodacolor film than anyone with their proximity to the national archive so it was likely worth it for him to develop it. It is pretty problematic as Perry said with defining the little squashed lenses from so long ago and there is so little of this kind of film in circulation. -
I have two model C Bell&Howell printers (one 35mm and one 16mm) and a Producers Service computer controlled optical printer at Cinelab in New Bedford about 45min south of Boston, c'mon down if you want to see them. I made prints on the 16mm printer today.
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Transferring vintage Kodacolor lenticular film
Robert Houllahan replied to Todd Ruel's topic in Post Production
I have scanned some Kodacolor jobs and sent them to Tom at Colorlab for him to process, his GPU based software works and the results are certainly a mixed bag. Kodacolor was a terrible color process and was made far worse by years of being squished so the lenticular stripes became flat. At best it is a low res color image with lines and at worst it is a low res B&W image with lines when the processing does not quite see the stripes, I am sure Tom has improved it over time as it has been a few years since I have seen any7 Kodacolor come into the lab. -
Crazy homemade film cleaner!
Robert Houllahan replied to Daniel D. Teoli Jr.'s topic in Post Production
None of those machines should be anywhere but in the landfill or metals scrap.